r 


GREAT  ENGRAVERS:  EDITED  BY  ARTHUR  M.  HIND 


JEAN  MICHEL  MOREAU 


The  Kiss.    Engraved  by  Nicolas  Delaunay 


An  illustration  to  "Julie,"  from  Rousseau's  Works  (1774-83).       The  original  drawing 
is  in  the  collection  of  the  Baronne  James  de  Rothschild,  Paris 


FRAGONARD 

MOREAU    LE 

JEUNE 


AND  FRENCH  EN- 
GRAVERS, ETCHERS, 
AND  ILLUSTRATORS 
OF  THE  LATER  XVIII 
CENTURY 


FREDK.  A.  STOKES 
N  E  W    Y 
PUBLISHERS 


BOOKS  OF  REFERENCE 

HUBER,  M.,  ROST,  C.  C.  H.,  and  MARTINI,  C.  G.     Manuel  desCurieux  et 

des  Amateurs    d'Art.      Zurich,    1797-1808.      Vol.    VIII    (Ecole    de 

France,  seconde  partie),  1804 

RoBERT-DuMESNiL,  A.  P.  F.     Le  Peintre-graveur  Francais.     Paris  1835-71 
BAUDICOUR,  P.  DE.     Le   Peintre-graveur  Francais  continue.     Paris  1859, 

1861 

DUPLESSIS,  G.     La  Gravure  en  France.     Paris  1861 
GONCOURT,    E.   and    J.    de.     Les    Vignettistes   (Gravelot,  Cochin,  Eisen, 

Moreau).     Paris  1868 

L'Art  du  I8e  Siecle.     Paris  1873-74  (3e  ed.  1880-82) 
COHEN,  Henri.     Guide  de  1'Amateur  de  Livres  a  Gravures.     Paris  1870 

(6uie  edition,  par  Seymour  de  Ricci,  1912) 
BOCHER,  E.     Les  Gravures  Francaises  du  l8e  Siecle.  Paris  1875-8-2  (P.  A. 

Baudouin,  1875  ;  N.  Lavreince,  1875  ;  J.  B.  S.  Chardin,  1876  ;  J.  M. 

Moreau,  1882  ;  A.  de  St.  Aubin,  1882) 
BOISSIEU,  J.  J.  de.     Catalogue.     Paris  1878 
HEDOU,  J.     Jean  Baptiste  Le  Prince.      Paris  1878 

PORTALIS,  R.,  and  BERALDI,  H.     Les  Graveurs  du  l8e  Siecle.    Paris  1880-82 
BOURCARD,  G.  Les  Estampes  du   l8e  Siecle.     Ecole  Francaise.    Paris  1885. 

Dessins,  Gouaches,  Estampes  du  l8e  Siecle.     Paris  1893 
PORTALIS,  R.     Honore  Fragonard.     Sa  Vie  et  son  CEuvre.      Paris  1888 
FENAILLE,  M.     P.  L.  Debucourt.     Paris  1879 

LEWINE,  J.   Bibliography  of  Eighteenth  Century  Art  and  Illustrated  Books. 
London  1898 

DILKE  (Lady).     French  Engravers  of  the   Eighteenth  Century.     London 
1902 

MAUCLAIR,    Camille.     J.   B.    Greuze.     Sa  Vie,  son  CEuvre,  son   Epoque. 

Paris  1905 

NEVILL,  Ralph.     French  Prints  of  the  Eighteenth  Century.    London  1908 
DELTEIL,  Loys.     Manuel  de  1'Amateur  d'Estampes  du   l8e  Siecle.     Paris 

1910 

LAWRENCE,  H.  W.,  and  DIGHTON,  B.  L.    French  Line-engravers  of  the  late 
Eighteenth  Century.     London  1910 


FRAGONARD, 

MOREAU  LE  JEUNE,  ETC. 

WE  have  already  devoted  a  volume  of  this  series  to  the  French 
etchers  and  engravers  of  the  earlier  part  of  the  eighteenth 
century.    The  development  of  French  engraving  from  the 
school  of  Watteau  to  Moreau  le  Jeune  and  the  illustrators 
of  the  latter  part  of  the  century,  shows  a  natural  progress  in  technical 
methods,  but  striking  differences  in  artistic  aim.     By  Watteau,  the 
spirit  of  contemporary  life  is  enhanced  by  the  beauty  of  imaginary 
surroundings ;  the  costumes  of  society  are  transferred  to  the  realms 
of  the   shepherds  and  shepherdesses  of  the  golden  age  ;  and  figures 
drawn  direct  from  life  or  the  stage  are  invested  with  an  idyllic  charm. 
With   most  of  the    French    draughtsmen  and    engravers   of  the 
succeeding  generation,  the  charm  still  remains,  but  the  idyll  is  gone. 
There  is  still  the  romance,  but  it  has  lost  its  purer  outdoor  savour  ; 
it  is  the  romance,  and  often  enough  the  intrigue,  of  the  daily  life  of  a 
decadent  aristocracy,  breathing  the  closer  air  of  the  boudoir  and  the 
salon.     The  fascinating  affectations  and  incongruities  of  Watteau  and 
his  prose  give  way  to  a  realism   which  sometimes  only  escapes  the 
sordid  by  dint  of  the  inevitable  refinement  of  the  French  genius. 

Exquisitely  refined  realism  in  the  representation  of  contemporary 
society  is  undoubtedly  the  central  characteristic  of  the  artist  illustrators 
of  the  reign  of  Louis  XVI,  but  our  volume  opens  with  the  most 
brilliant  exception,  Jean  Honore  Fragonard.  A  pupil  of  Boucher,  he 
showed  an  equal  verve  and  brilliance  in  composition,  while  escaping 
the  fulsomeness  of  his  master's  style.  His  few  original  etchings,  which 
are  comparatively  little  known,  show,  in  a  remarkable  degree,  his 
exquisite  sense  for  light  and  line.  His  manner  of  etching  evidently 
derives  as  much  from  Tiepolo  as  from  Boucher,  and  there  is  the  same 
rococo  love  for  white  lights  which  characterises  the  Italian  painter. 
The  inspiration  derived  from  his  early  studies  in  Italy  is  aptly 
exemplified  by  fourteen  out  of  the  two  dozen  etchings  described  by 
Baudicour,  which  freely  reproduce  paintings  by  Tintoretto,  Annibale 
Carracci,  and  Sebastiano  Ricci.  Of  his  ten  original  etchings,  the  four 
Reliefs  with  Bacchanals  are  undoubtedly  the  most  individual,  and  the 
graceful  fancy  of  their  design  is  rendered  with  a  light  touch  and 
joyous  movement  that  is  entirely  fascinating  (see  n  and  in). 

Even  more  powerful,  and  thoroughly  Tiepolesque  in  its  brilliant 
effect  of  light,  is  the  unknown  subject,  called  Les  Traitants^  repro- 

5 


GREAT  ENGRAVERS 

duced  on  Plate  I.  It  looks  as  if  it  might  be  a  scene  with  Sancho 
Panza  from  "  Don  Quixote,"  but  I  cannot  find  that  it  corresponds 
with  any  definite  incident.  I  might  mention  in  this  connexion  that 
Fragonard  projected  a  series  of  illustrations  to  "  Don  Quixote,"  but 
they  were  never  published.  Baron  Vivant  Denon,  who  possessed 
nineteen  of  his  original  drawings  to  "  Don  Quixote,"  etched  some 
on  a  smaller  scale.  Seven  of  the  drawings  are  in  the  collection  of 
Madame  Groult  of  Paris,  and  two  others  in  the  British  Museum. 

Most  of  the  prints  illustrated  in  the  present  volume  are  reproduc- 
tions by  the  most  skilful  engravers  of  the  time,  some  of  them  original 
artists  themselves,  of  designs  by  painters  or  draughtsmen  such  as 
Fragonard,  Greuze,  Baudouin  and  Lavreince.  Those  after  Fragonard 
and  Greuze  seem  for  the  most  part  based  on  oil  paintings,  but  a  large 
proportion  of  the  rest  were  engraved  from  drawings — either  in  water- 
colour,  gouache^  or  chalk — expressly  designed  for  reproduction  as 
engravings.  Thus  Fragonard's  Les  Hasards  heureux  de  F  Escarpo- 
lette  (vin)  reproduces  the  picture  now  in  the  collection  of  Baron 
Edmond  de  Rothschild,  in  Paris.  The  same  collector  possesses 
several  of  Moreau's  original  drawings  for  the  "  Monument  du 
Costume,"  while  Moreau's  original  designs  for  the  Kiss  (frontispiece) 
and  other  illustrations  of  Rousseau's  works  now  belong  to  the  Baronne 
James  de  Rothschild  (Paris).  The  private  collections  of  Paris  are  the 
richest  in  these  treasures,  but  several  of  the  finest  examples  are  in 
England,  e.g.  Lavreince's  gouaches  for  UAssembl/e  au  Concert  (XL) 
and  U  Assemble  e  au  Salon  (XLI)  in  the  possession  of  Mr.  Walter  Burns, 
and  one  or  two  more  of  Moreau's  drawings  for  the  "Monument  du 
Costume,"  belonging  to  Lord  Carnarvon. 

The  most  famous  and  typical  of  all  the  line-engravings  of  the 
period  is  undoubtedly  Nicolas  Delaunay's  Les  Hasards  heureux  de 
r  Escarpolette,  after  Fragonard,  to  which  I  have  already  referred. 
Nicolas  Delaunay  was  not  an  original  artist,  but  certainly  the  most 
accomplished  of  the  line-engravers  of  society  pieces,  and  this  example 
of  his  collaboration  with  Fragonard  well  deserves  its  description  by 
Portalis  and  Beraldi  as  "  le  fin  du  fin,  la  quintessence,  le  dernier  mot 
de  1'art  galant  de  1'epoque." 

Happily  the  print  is  even  more  typical  of  the  art  of  the  period  than 
of  Fragonard.  Like  Greuze,  Fragonard  was  as  much  attracted  by  the 
simpler  life  of  the  peasant  as  by  the  gallantries  of  society,  and 
L' Heureuse  F/condit/  (vi),  Dltes  done,  s'il  vous  plait  (vn),  and  three 
others  of  the  same  series,  also  engraved  by  Nicolas  Delaunay,  are 
among  his  most  attractive  works.  The  original  plates  of  this  series 
6 


FRAGONARD,  MOREAU  LE  JEUNE,  ETC. 

are  in  existence,  and  a  considerable  number  of  modern  impressions 
have  been  issued,  so  that  collectors  should  be  wary.  But  even  early 
impressions  of  this  set  are  incomparably  less  valuable  than 
ISEscarpolette. 

In  their  renderings  of  peasant  life,  Greuze  and  Fragonard  may  both 
owe  something  to  Chardin,  who  is  represented  here  in  an  engraving 
by  C.  N.  Cochin,  the  elder  (xxxni).  Greuze's  La  Maman, 
engraved  by  J.  F.  Beauvarlet  (xxxi)  and  his  Girl  seated  with  a  basket, 
engraved  by  Madame  Beauvarlet  (one  of  the  few  women  engravers 
of  the  period)  (xxxn),  have  a  similar  charm,  though  they  are  not 
among  the  best  prints  after  that  master.  Robert  Gaillard  and  Jean 
Massard  are  more  important  as  interpreters  of  Greuze,  and  La  Volup- 
tueuse  (xxvn),  La  Cruche  Cassee  (xxvin),  and  La  fertu  Chance/ante 
(xxx),  are  three  of  their  finest  reproductions. 

But  to  collectors  of  French  prints  in  general,  Greuze  is  not  a  name 
to  conjure  with.  He  is  infinitely  less  popular  in  the  market  than  those 
unflagging  devotees  of  the  salon  and  the  boudoir,  Baudouin  and 
Lavreince.  The  objects  of  their  devotion  may  render  their  works 
insipid  to  many  lovers  of  great  art,  but  there  are  few  who  will  not,  if 
they  seek,  find  something  in  their  prints  to  interest — if  not  the  human 
element,  at  least  some  charming  interior,  some  piece  of  decoration  or 
furniture,  subsidiaries  to  which  these  artists  lent  so  much  loving  care. 
Baudouin  was  a  true  follower  of  his  master,  Boucher.  The  same  love 
of  the  flesh  and  an  almost  equal  fulsomeness  in  its  expression  are  allied 
with  a  suggestiveness  that  often  totters  on  the  verge  of  indiscretion, 
without  sacrificing  the  external  delicacy  that  characterises  French 
amatory  art  of  the  period. 

Lavreince  was  only  a  stranger  in  France — he  was  a  Swede,  whose 
name  is  properly  spelt  Lafrensen — but  few  natives  reflected  the  spirit  of 
contemporary  Parisian  society  with  more  evident  truth,  or  more  piquant 
charm.  Most  of  his  work  at  Paris,  like  that  of  Baudouin,  was  contained 
in  the  gouaches,  reproduced  so  wonderfully  by  the  engravers.  Nicolas 
Delaunay  is  again  responsible  for  several  of  the  finest  prints  after  these 
masters,  Le  Billet  'Doux  (xxxvm)  and  Qu'en  dit  /'^^/(xxxix)  after 
Lavreince,  and  Le  Carquois  /puise  (xxxvi),  after  Baudouin,  being 
among  the  most  popular  prints  of  the  school.  Even  more  valuable  are 
fine  impressions  of  Le  Coucher  de  la  ZMariee  (xxxiv),  after  Baudouin, 
etched  by  J.  M.  Moreau,  and  finished  in  engraving  by  J.  B.  Simonet. 
Nearly  all  the  "  line-engravings  "  of  the  period  were  largely  bitten 
with  acid.  More  particularly  since  the  beginning  of  the  eighteenth 
century  it  had  become  the  regular  practice  of  the  line-engraver  to 


GREAT  ENGRAVERS 

commence  his  plate  with  a  light  preliminary  etching,  elaborating  the 
subject,  and  adding  all  the  brilliant  finish  with  the  graver.  The 
character  of  the  print  in  general  would  be  entirely  in  the  formal 
manner  of  the  pure  line-engraver,  so  that  one  is  justified  in  calling 
such  mixed  prints  line-engravings,  etching  being  used  in  the  pre- 
liminary stages  less  for  its  real  artistic  qualities  than  for  the  facility 
which  it  offered  for  sketching  in  the  main  elements  of  the  design. 
In  general,  the  engraver  will  do  his  own  preliminary  etching.  At 
other  times,  the  author  of  the  design  is  responsible  for  the  etching, 
while  a  third  possibility  is  shown  in  Le  Coucher  de  la  -jVLariee^  where 
draughtsman,  etcher,  and  engraver  are  distinct. 

Jean  Michel  Moreau,  the  etcher  of  Le  Coucher  de  la  Mariee^  was 
himself  one  of  the  finest  original  draughtsmen  of  contemporary 
society.  Among  the  most  ambitious  prints  engraved  as  well  as 
designed  by  Moreau,  are  the  pendants,  Le  Festin  (J^oya!  and  Le  Bal 
Masque  (xil),  representing  festivities  celebrating  the  birth  of  the 
Dauphin  in  1782.  Modern  prints  can  still  be  obtained  from  the 
Chalcographie  du  Louvre,  which  is  in  possession  of  the  original  copper 
plates,  but  early  impressions  are,  of  course,  of  considerable  value. 

Moreau's  most  interesting  work  is  the  series  of  engravings  after  his 
drawings,  generally  called  "  Le  Monument  du  Costume,"  its  title  in 
the  Neuwied  edition  of  1789,  issued  with  text  by  Restif  de  la 
Bretonne.  The  prints  had  appeared  earlier  under  the  title,  Suite 
a"  Estampes  pour  servir  a  I'Histoire  des  IMceurs  et  du  Costume  des  Fran- 
fais  dans  le  Xf/Ill'  siecle,  in  two  sets,  1776  (1777)  and  1783.  They 
formed  a  supplement  to  a  series  of  twelve  prints  issued  under  a  similar 
title  in  1774  (and  1775)  after  designs  by  Sigmund  Freudenberger,  a 
Swiss  artist  settled  in  Paris.  Two  plates  from  Freudenberger's  series, 
La  Promenade  du  Matin,  engraved  by  C.  L.  Lingee  (XLVIII),  and 
La  'Promenade  du  Soir,  engraved  by  F.  R.  Ingouf  (XLIX),  show  a 
charming  talent,  but  serve  to  throw  into  greater  relief  the  real  genius 
of  Moreau's  draughtsmanship.  The  initials,  I.H.E.,  which  figure  on 
the  plates  of  the  Freudenberger  series  are  those  of  Jean  Henri  Eberts, 
a  Swiss  banker,  who  helped  to  set  the  project  on  foot,  and  who,  from 
the  inscription  I.H.E.  inv(enit),  no  doubt  made  direct  suggestions  to 
the  artist  as  to  the  treatment  of  the  subjects.  His  participation  does 
not,  however,  extend  to  the  plates  by  Moreau,  whose  greater  genius 
and  originality  would  need  no  external  inspirer. 

Proofs  of  the  preliminary  etched  states  of  each  of  the  series  are  rare 
and  valuable,  and,  in  the  case  of  the  Moreau  sets,  are  now  almost 
impossible  to  find.  We  reproduce  one  from  the  British  Museum  (Les 


FRAGONARD,  MOREAU  LE  JEUNE,  ETC. 

^Precautions,  xvi),  but  here,  as  in  so  many  fields  of  collecting,  Baron 
Edmond  de  Rothschild,  of  Paris,  has  by  far  the  greatest  treasures. 
Artistically,  however,  the  finished  state,  as  elaborated  with  the  graver, 
is  the  more  satisfactory,  and  in  good  state  scarcely  less  valuable.  I 
refer  to  some  of  the  general  varieties  of  state  touching  the  three  series, 
as  some  example  to  the  collector  of  the  sort  of  difference  that  he  should 
look  for  in  these  as  well  as  other  prints  of  the  period.  To  begin  with, 
prints  of  the  Freudenberger  series  are  found  as  : 

I.  Preliminary  etchings  ;  before  the  frame.  II.  Proofs  before 
letters,  at  various  stages  of  the  work,  with  or  without  the  frame. 
III.  Lettered  impressions,  but  the  cartouche  which  holds  title  still 
white.  IV.  Ditto,  with  cartouche  shaded.  V.  Number  added. 

The  two  sets  by  Moreau  are  known  in  the  following  states : 

I.  Preliminary  etchings.  II.  Finished  engraving,  before  letters, 
but  with  the  date.  III.  Lettered  with  the  title  and  artists'  names, 
and  A.P.D.R.  (i.e.  avec privilege  du  ro'i).  IV.  Ditto,  with  numbers 
added.  V.  A.P.D.R.  and  numbers  erased  (as  published  in  "  Le 
Monument  du  Costume,"  1789). 

Some  of  the  engravers  of  Moreau's  series  cannot  be  said  to  be  among 
the  foremost  engravers  of  the  period,  but  it  is  remarkable  what  a  high 
level  of  accomplishment  they  all  show.  Robert  Delaunay  shows  him- 
self almost  the  equal  of  his  elder  brother,  Nicolas,  in  Les  ^dieux  (xiv), 
Baquoy's  C'est  un  Fils,  Monsieur  (xix),  his  etching  of  Les  petits 
Parains,  completed  by  J.  B.  Patas  (xxv),  Martini's  four  plates, 
notably  Les  Precautions  (xvi)  and  La  'Dame  du  Palais  de  la  T^lne 
(xxiv)  are  equally  attractive  ;  while  two  of  Helman's  four  subjects, 
Le  Souper  Fin  (xxin)  and  N'ayez  pas  peury  ma  bonne  amie  (xvili) 
are  almost  incomparable  for  their  fine  engraving  and  perfect 
interpretation. 

Both  Freudenberger's  and  Moreau's  series  were  originally  issued 
with  some  pages  of  explanatory  text,  but  complete  series  with  the 
original  title  pages  and  text  are  so  exceedingly  rare,  that  the  prints 
are  naturally  treated  as  separate  plates,  and  not  in  any  sense  book 
illustrations.  And  in  this  case  it  was  of  course  the  book  which 
illustrated  the  plates,  not  the  plates  which  illustrated  the  book. 
But  practically  all  the  designers  and  engravers  of  the  period,  to 
whom  we  have  referred  in  relation  to  prints  separately  issued,  were 
also  responsible  for  a  large  number  of  book  illustrations.  We  must 
confess  that  woodcut  is  the  process  fitted  better  than  any  other  for 
printing  in  conjunction  with  type,  and  what  is  more,  combining  in  a 
true  artistic  relation  with  type  to  the  making  of  a  beautiful  book. 

9 


GREAT  ENGRAVERS 

But  this  ideal  aside,  engraving  has  never  been  used  with  such  aptness 
and  such  perfect  accomplishment  in  book  illustration  as  by  the 
French  engravers  of  the  second  half  of  the  eighteenth  century. 

For  the  perfect  realisation  of  the  artist's  end,  the  conventional 
method  of  the  line-engraving  of  the  period  is  of  importance.  The 
subject  was  nearly  always  lightly  etched  on  the  plate,  and  the 
engraving  pure  and  simple  was  the  elaboration  that  followed.  And 
some  of  the  best  results  would  naturally  be  obtained  when  a  designer 
was  also  an  etcher,  and  made  himself  responsible  for  the  preliminary 
etching.  Moreau,  who  was  also  an  etcher  and  engraver  (see  e.g. 
the  charming  etched  border,  used  on  the  title-page  of  this  volume,  and 
Le  'Bal  -^Masque^  xn),  was  perhaps  the  greatest  of  all  the  illustrators  of 
the  period,  and  his  plates  to  the  quarto  edition  of  Rousseau's  Works 
(1774-1783)  are  among  the  most  attractive  specimens  of  his  art. 
When  his  engraver  was  Noel  Le  Mire  or  Nicolas  Delaunay  (e.g. 
the  illustration  to  "Julie"reproduced  in  our  frontispiece),  perfect  inter- 
pretation of  his  charming  draughtsmanship  was  the  result. 

It  is  of  course  extremely  rare  to  find  this  edition  of  Rousseau  with 
its  engravings  complete,  and  the  same  must  be  said  of  all  the  best 
illustrated  books  of  the  period,  which  are  too  often  found  mutilated  of 
their  plates.  The  same  series  of  designs  were  engraved  much  less 
well,  and  on  a  smaller  scale,  in  the  8vo  editions  of  Rousseau  (e.g. 
Poinfot,  Paris,  38  vols.,  1788-93  ;  and  Didot,  Paris,  1801,  20  vols.). 

Of  the  engravers  who  took  part  in  the  quarto  edition  of  Rousseau 
besides  Delaunay  and  Le  Mire,  we  would  particularly  mention  P.  P. 
Choffard  and  Augustin  de  St.  Aubin.  The  former  was  the  most  dainty 
etcher  and  engraver  of  his  day  of  fleurons  and  cuh-de-lampe,  head  and 
tail-pieces,  with  their  medley  of  curtains  and  cupids,  vases,  rose- 
wreaths  and  the  rest,  with  which  he  decorated  such  famous  books  as 
La  Fontaine,  "Contes  et  Nouvelles  en  Vers"(i762),  and  Ovid,"  Meta- 
morphoses "  (1767-71).  Augustin  de  St.  Aubin  was  a  most  prolific 
engraver  and  designer  of  illustrations  and  single  plates  of  all  descrip- 
tions, but  his  special  forte  was  the  frontispiece  portraits,  which  he 
executed  with  a  point  as  delicate  as  that  of  Etienne  Ficquet,  the 
acknowledged  master  of  miniature  engraving.  C.  N.  Cochin,  the 
younger,  is  another  draughtsman  and  engraver  who  is  particularly 
noteworthy  for  the  small  profile  portraits  which  for  the  most  part  he 
left  to  others  to  engrave. 

Ficquet's  portrait  of  La  Fontaine  (LVII)  was  used  as  frontispiece  to 
the  finest  of  ail  the  illustrated  editions  of  the  "Contes  et  Nouvelles  en 
Vers,"that  in  2  vols.,  8vo,of  1762,  to  which  we  have  already  referred 

10 


FRAGONARD,  MOREAU  LE  JEUNE,  ETC. 

in  relation  to  Choffard.  This  edition  and  Dorat's  "Les  Baisers"  (8vo, 
1770)  contain  Charles  Eisen's  most  famous  designs,  and  prove  him 
an  impertinent  Boucher,  dallying,  like  so  many  of  the  French  illustra- 
tors of  the  time,  on  the  borderland  of  delicacy,  but  a  graceful  artist 
withal.  Joseph  de  Longueil,  the  engraver  of  the  plate  which  we 
reproduce  from  "Les  Baisers"  (XLVI),  was  one  of  the  finest  craftsmen  of 
the  period,  and  also  figured  with  Le  Mire,  Baquoy,  ChofFard,  and 
others  in  the  "Contes  et  Nouvellesen  Vers"  of  the  Fermiers  Generaux^ 
as  the  edition  of  1762  is  called.  Nor  could  ChofFard  have  surpassed 
in  accomplishment  the  exquisite  tail-pieces  after  Eisen,  of  which  one 
engraved  by  Nicolas  Delaunay  is  placed  in  our  text  (p.  15). 

Of  Gravelot,  one  of  the  earlier  generation  of  French  illustrators 
(he  was  born  in  1699),  we  have  already  spoken  in  the  volume  on 
Watteau  (Great  Engravers,  1911).  But  in  that  place  we  only  repro- 
duced two  costume  studies  engraved  after  his  drawings  by  L.  Truchy, 
single  figures  somewhat  closely  following  the  tradition  of  Watteau. 
These  and  a  large  proportion  of  his  earlier  book  illustrations  were 
produced  in  England  during  the  two  decades  preceding  I754>  nis 
original  engravings  to  Richardson's  "Pamela"  (1742)  being  perhaps  the 
most  interesting,  but  none  of  his  English  illustrations  equals  the 
charming  series  of  designs  done  after  his  return  to  Paris  for 
Marmontel's  "  Contes  Moraux  "  (1/65,  3  vols.,  8vo),  and  engraved  by 
Longueil,  Le  Mire,  Pasquier  and  others  (see  LV  &  LVI). 

An  even  more  valuable  illustrated  edition  for  which  Gravelot 
supplied  the  greater  part  of  the  designs  (in  company  with  Boucher, 
Cochin  and  Eisen)  is  the  "Decameron  "  of  1757  (5  vols.  in  8vo),  in 
which  Aliamet,  Baquoy,  Flipart,  Le  Mire,  Moitte,  Lempereur,  and 
Augustin  de  St.  Aubin  were  the  chief  engravers. 

Nearly  all  the  finest  French  book  illustration  falls  between  this 
date  and  the  Revolution.  At  that  crisis  in  the  reaction  against  the 
outward  show  of  the  old  aristocracy,  even  the  best  of  the  illustrators, 
Moreau  himself,  yielded  his  soul  to  the  new  classicism  led  by  Jacques 
Louis  David,  and  found  himself  the  more  than  commonplace  illus- 
trator of  J.  P.  Rabaut  Saint-Etienne's  "Precis  Historique  de  la  Revolu- 
tion Francaise"  (1792).  On  this  field  of  stern  action  Moieau  was  as 
nothing  compared  to  Jean  Duplessi-Bertaux,  who  in  his  large  series 
of  small  etchings  illustrating  the  Revolution  revived  some  of  the 
spirit  of  Callot. 

The  last  three  names  represented  in  our  plates  illustrate  two 
entirely  different  phases  of  French  art.  Le  Prince,  like  most  of  the 
illustrators  we  have  mentioned,  was  a  draughtsman  of  contemporary 

1 1 


GREAT  ENGRAVERS 

life  whose  subjects  were  often  reproduced  in  line  (e.g.  Le  Marchand  de 
Lunettes,  engraved  by  Helman,  LIX),  but  he  is  of  chief  interest  for  his 
original  etchings  in  aquatint.  For  a  description  of  the  process,  of 
which  Le  Prince  claimed  the  discovery,  I  would  here  only  refer  to 
the  volume  on  Goya  (Great  Engravers,  1911)  one  of  the  greatest 
masters  of  the  art.  Le  Prince  spent  several  years  in  Russia  between 
1758  and  1763,  and  the  example  reproduced,  Le  'Ber^eau  (LX),  like  so 
many  of  his  etchings  and  aquatints,  is  probably  based  on  sketches  of 
Russian  peasant  life  made  on  this  visit.  But  to  the  collector  of 
French  prints  in  general,  who  looks  rather  for  the  Parisian  interior  of 
the  period,  the  work  of  Janinet  and  Debucourt,  who  both  followed 
Le  Prince  in  the  use  of  aquatint,  is  a  far  greater  attraction.  Janinet 
was  not  an  artist  of  great  originality,  but  he  is  specially  remarkable 
for  his  colour  prints,  some  of  them,  such  as  his  larger  portrait  of  Marie 
Antoinette,  being  a  most  accomplished  technical  production  (though 
trivial  enough  in  style),  and  extremely  valuable  in  fine  impressions. 
He  combined  aquatint  freely  with  roulette  work,  obtaining  something 
of  the  more  varied  quality  of  Bonnet's  crayon  and  pastel  engravings. 

Debucourt  on  the  other  hand  kept  much  more  strictly  to  pure 
aquatint,  and  his  surfaces  of  colour  gain  wonderfully  thereby  in  the 
transparent  quality  of  their  tone.  He  was  as  sound  a  master  of  colour- 
printing  as  Janinet,  and  a  far  more  original  draughtsman.  He  is  one 
of  the  most  distinguished  masters  of  Society  genre,  and  those  two 
famous  and  most  valuable  prints,  La  'Promenade  de  la  Galerie  du 
Palais  Royal,  1787  (LXI),  and  La  Promenade  Publique,  1792  (LXII),  are 
of  the  greatest  interest  for  their  spirited  representation  of  manners  in 
Paris  at  the  time  of  the  Revolution. 

Jean  Jacques  de  Boissieu  of  Lyons  is  stolid  and  provincial  in  com- 
parison with  the  brilliant  Parisian  company  that  have  preceded.  But 
for  all  that  his  etched  work  is  of  real  worth,  and  shows  a  powerful 
sense  of  expressing  chiaroscuro  by  means  of  etching,  helped  out  in 
certain  examples,  such  as  the  Cellarers  (1790)  and  the  Two  Hermits 
(1797),  with  his  somewhat  unique  method  of  crossing  his  more 
heavily  etched  lines  with  fine  roulette  work.  He  was  one  of  the 
etchers  of  the  period  who  still  kept  largely  to  landscape,  though  even 
his  original  work  in  this  field  is  imitative,  and  reminiscent  of 
Ruysdael,  Du  Jardin  and  Claude,  after  each  of  whom  he  also  made 
some  reproductive  plates.  It  remained  for  Theodore  Rousseau, 
Corot,  and  the  painters  of  Barbizon  to  restore  real  life  to  the 
landscape  etching  which  is  now  one  of  the  historical  glories  of  the 
nineteenth  century. 

12 


LIST    OF    PLATES 

JEAN  HONORE  FRAGONARD 

Unknown  Subject.  Les  Traitants. 
I.  Original  etching 

Relief  with  a  Satyr  Family  dancing. 
ii.  Original  etching 

Relief  with  a  Satyr  Family.  The 
Infants'  Introduction,  in.  Ori- 
ginal etching 

Le  Contrat.  Engraved  by  Maurice 
Blot,  iv 

La  Bonne  Mere.  Engraved  by 
Nicolas  Delaunay.  v 

L'Heureuse  Fecondite.  Engraved 
by  Nicolas  Delaunay.  vi 

Dites  done,  s'il  vous  plait.  En- 
graved by  Nicolas  Delaunay.  vn 

Les  Hasards  heureux  de  L'Escar- 
polette.  Engraved  by  Nicolas 
Delaunay.  vin.  After  the  paint- 
ing in  the  collection  of  Baron 
Edmond  de  Rothschild,  Paris. 
There  is  another  version  in  the 
Wallace  collection 

L'Inspiration  favorable.  Engraved 
by  Louis  Michel  Halbou.  ix 

The  Embrace.  Engraved  by  Gabriel 
Marchand.  x 

Le  Serment  d' Amour.  Engraved 
by  Jean  Mathieu.  xi 

JEAN  MICHEL  MOREAU.  The  Kiss. 
Engraved  by  Nicolas  Delaunay. 
Frontispiece.  An  illustration  to 
"  Julie  "  from  Rousseau's  works 
(1774-83).  The  original  drawing 
is  in  the  collection  of  the  Baronne 
James  de  Rothschild,  Paris 

Le  Bal  Masque,      xii 

La  Petite  Loge.  Engraved  by  Jean 
Baptiste  Patas.  xni.  This,  and  the 
following  twelve  plates  are  from 
"Le  Monument  du  Costume." 
The  original  drawing  is  in  the 
collection  of  the  Baronne  Alice  de 
Rothschild.  There  is  another  study 
in  the  Olry-Roederer  collection 


Les  Adieux.  Engraved  by  Robert 
Delaunay.  xiv.  The  original 
drawing  is  in  the  collection  of  the 
Baronne  Alice  de  Rothschild 

La  Sortie  de  1'Opera.  Engraved  by 
Georges  Malbeste.  xv 

Les  Precautions.  Engraved  by  Pietro 
Antonio  Martini.  Unfinished 
proof,  xvi.  The  original  draw- 
ing is  in  the  collection  of  Baron 
Edmond  de  Rothschild 

Oui  ou  Non.  Engraved  by  N. 
Thomas.  xvn.  The  original 
drawing  is  in  the  collection  of 
Baron  Edmond  de  Rothschild. 
There  is  another  study  in  the 
Olry-Roederer  collection 

N'ayez  pas  peur,  ma  bonne  amie. 
Engraved  by  Isidore  Stanislas  Hel- 
man.  xvm.  The  original  draw- 
ing is  in  the  collection  of  Lord 
Carnarvon 

C'est  un  Fils,  Monsieur.  Engraved 
by  Jean  Charles  Baquay,  xix. 
The  original  drawing  is  in  the 
collection  of  Baron  Edmond  de 
Rothschild 

La  Petite  Toilette.  Engraved  by 
Pietro  Antonio  Martini,  xx.  The 
original  drawing  is  in  the  collec- 
tion of  Baron  Edmond  de  Roths- 
child 

La  Grande  Toilette.  Engraved  by 
Antoine  Louis  Romanet.  xxi 

La  Partie  de  Wisch.  Engraved  by 
Jean  Dambrun.  xxn.  The  ori- 
ginal drawing  is  in  the  collection 
of  Baron  Edmond  de  Rothschild 

Le  Souper  Fin.  Engraved  by 
Isidore  Stanislas  Helman.  xxni. 
The  original  drawing  is  in  the 
collection  of  the  Baronne  Alice  de 
Rothschild 

La  Dame  du  Palais  de  la  Reine. 
Engraved  by  Pietro  Antonio 

'3 


GREAT  ENGRAVERS 

Martini.      xxiv.       The    original 

drawing    is    in   the  collection   of 

Baron  Edmond  de  Rothschild 
Les  petits  Parains.     Etched  by  Jean 

Charles  Baquoy,  and   finished  in 

engraving    by  J.  B.   Patas.     xxv. 

The    original    drawing    is   in  the 

collection  of  Baron   Edmond    de 

Rothschild 

JEAN  BAPTISTE  GREUZE 
The  Dead  Bird.     Engraved  by  Jean 

Jacques  Fligart.     xxvi 
La  Voluptueuse.  Engraved  by  Robert 

Gaillard.     xxvn 
La    Cruche    Cassee.     Engraved   by 

Jean  Massard  ( i  773).     xxvm 
Le     tendre    Desir.      Engraved    by 

Jean  Massard.     xxix 
La  Vertu  Chancelante.   Engraved  by 

Jean  Massard.     xxx 
La  Maman.     Engraved   by   Jacques 

Firmin  Beauvarlet.     xxxi 
Girl  seated  with  a  basket.    Etched  by 

Fran9oise  Beauvarlet  (Deschamps) 

and    finished     in      engraving     by 

Jacques  Firmin  Beauvarlet.    xxxn 
JEAN     BAPTISTE    SIMEON    CHARDIN. 

L'Ecureuse.          Engraved         by 

Charles  Nicolas  Cochin,     xxxm 
PIERRE  ANTOINE  BAUDOUIN 
Le  Coucher  de  la  Mariee.     Etched 

by    Jean    Michel     Moreau,     and 

finished    in     engraving     by    Jean 

Baptiste  Simonet.     xxxiv 
Le     Lever.       Engraved     by     Jean 

Massard.     xxxv 
Le  Carquois  epuise.       Engraved  by 

Nicolas  Delaunay.     xxxvi 
L'Enlevement.  Nocturne.   Engraved 

by  Nicolas  Ponce,     xxxvn 
NICOLAS  LAVREINCE 
Le    Billet     Doux.       Engraved     by 

Nicolas  Delaunay.     xxxvm 
Qu'en    dit  1'Abbe  ?       Engraved    by 

Nicolas  Delaunay. 


L'Assemblee  au  Concert.  Engraved 
by  Nicolas  Barthelemi  Francois 
Dequevauviller.  XL.  The  original 
drawings  of  this  and  the  following 
are  in  the  collection  of  Mr. 
Walter  Burns 

L'Assemblee  au  Salon.  Engraved 
by  N.  B.  F.  Dequevauviller.  XLI 

La  Soubrette  Confidante.  En- 
graved by  Geraud  Vidal.  XLII 

Le  Dejeuner  Anglais.  Engraved  by 
Geraud  Vidal.  XLIII 

L'Aveu  Difficile.  Aquatint  by  Fran- 
cois Janinet.  XLIV 

CHARLES  EISEN. 

Le  Concert  Mechanique.  Engraved 
by  Joseph  de  Longueil.  XLV 

The  Betrothal.  Engraved  by  Joseph 
de  Longueil.  XLVI.  Illustration 
to  C.  J.  Dorat,  "Les  Baisers," 
The  Hague,  1770 

Le  Jour.  Engraved  by  Jean  Bap- 
tiste Patas.  XLVII 

SIGMUND  FREUDENBERGER 

La  Promenade  du  Matin.  En- 
graved by  Charles  Louis  Lingee. 
XLVIII.  This  and  the  following  are 
from  the  Suite  (CEstampespourservir 
a  FHistoire  des  Mceurs  et  du  Costume 
des  Franfais  dans  le  Xl^IlP  Siecle 
(Paris  1775)  to  which  Moreau's 
two  sets  formed  the  supplement 

La  Promenade  du  Soir.  Engraved 
by  Fran9ois  Robert  Ingouf.  XLIX. 
The  original  drawing  is  in  the 
collection  of  the  Baronne  Guil- 
laume  de  Rothschild 

AUGUSTIN   DE  ST.  AUBIN 

Portrait  of  Adrienne  Sophie,  Mar- 
quise de  .  .  Original  engraving.  L 

Au  moins  soyez  discret.  Original 
engraving.  LI 

Comptez  sur  mes  serments.  This 
plate  and  the  preceding  represent 
St.  Aubin  and  his  wife.  Original 
engraving.  LII 


FRAGONARD,  MOREAU   LE  JEUNE,  ETC. 

Le  Concert.     Engraved  by  Antoine      JEAN  BAI-TISTE  LE  PRINCE 


Jean  Duclos.      LIII 

Le  Bal  Pare.  Engraved  by  Antoine 
Jean  Duclos.  LIV 

HUBKRT  FRANCOIS  GRAVELOT 

Le  Bon  Mari.  Engraved  by  Noel 
Le  Mire.  LV.  Illustrntion  to 
Marmontel's  "  Contes  Moraux." 
(Paris  1765) 

L'Ecole  des  Peres.  Engraved  by 
Jacques  Jean  Pusquier.  Illus- 
tration to  Marmontel's  "  Contes 
Moraux"  (Paris  1765).  LVI 

ETIENNE  FICQUET. 

Portrait     of  La   Fontaine,     after 
Rigaud.     LVII 

CHARLES  JOSEPH  FLIPART 

The  Boudoir.  LVIII.  Original  en- 
graving 


Le  Marchand  de  Lunettes.  Engraved 
by   Isidore  Stanislas  Helman.   LIX 

Le    Berfeau.      Hedou,     126.      LX. 
Original  aquatint 

PHILIBERT  Louis  DEBUCOLRT 
La    Promenade    de    la    Galerie    du 
Palais    Royal,    1787.      LXI.      Ori- 
ginal aquatint 

La  Promenade  Publique,  1792.  LXII. 

Original  Aquatint.      From   a  fine 

impression    in     the   collection  of 

Mr.  Basil  Dighton 
Les  Visites.  LXIII.  Original  Aquatint 
JEAN  JACQUES  DE  BOISJIEU 
The  Schoolmaster.     LXIV.     Original 

etching 


The  title-page  border  is  from  the  border  to  De  Laujon,  Les  d  propos  de 
Societe^  Paris  1776  (original  etching  by  J.  M.  Moreau) 

The  tail-piece  is  from  Dorat,  Les  Ba'uers,  The  Hague,  1770  (engraved 
by  Nicolas  Delaunay,  after  Charles  Eisen) 


J.  JEAN  HONORS   FRAGONARD.      UNKNOWN   SUBJECT   ("  LES 
TRAITANTS  ").   ORIGINAL  ETCHING.    B.  i 

Painter,  draughtsman,  and  etcher  ;    b.  1732  ;    d.  1806  ;    w.  at  Grasse, 
and  Paris 


F    I 


II.  JEANHONOREFRAGONARD.  RELIEF  WITH  A  SATYR  FAMILY 
DANCING.    ORIGINAL  ETCHING 


• 


III.  JEANHONOREFRAGONARD.  RELIEF  WITH  A  SATYR  FAMILY: 
THE  INFANTS'  INTRODUCTION.    ORIGINAL  ETCHING 


:i:.<Z$-  -,  j !  /.,- 

^ 

'          >*- 


IV.  JEAN  HONORE  FRAGONARD.   LE  CONTRAT.   ENGRAVED  BY 
MAURICE  BLOT 

Maurice  Blot,  line-engraver  ;   b.  1753  ;  d.  1818  ;  w.  in  Paris 


V.  JEAN  HONORE  FRAGONARD.    LA  BONNE  MERE.   ENGRAVED 
BY  NICOLAS  DELAUNAY 

Nicolas  Delaunay,  line-engraver  ;   b.  1739  >   ^.  :792  J   w-  ^n  Paris 


VI.  JEAN   HONORE    FRAGONARD.      L'HEUREUSE    FECONDITE. 
ENGRAVED  BY  NICOLAS  DELAUNAY 


VII.  JEAN  HONORE  FRAGONARD.  DITES  DONG  S'lL  VOUS  PLAIT. 
ENGRAVED  BY  NICOLAS  DELAUNAY 


VIII.  JEAN  HONORE  FRAGONARD.    LES  HASARDS  HEUREUX  DE 
L'ESCARPOLETTE.  ENGRAVED  BY  NICOLAS  DELAUNAY 

After  the  painting  in  the  collection  of  Baron  Edmond  de  Rothschild, 
Paris.     There  is  another  version  in  the  Wallace  collection 


IX.  JEAN  HONORE  FRAGONARD.    L'INSPIRATION  FAVORABLE. 
ENGRAVED  BY  LOUIS  MICHEL  HALBOU 
L.  M.  Halbou,  line-engraver  ;   b.  1730  ;   d.  1810  ?   w.  in  Paris 


Q/cworct&fa  ' 


F    2 


X.  JEAN  HONORE  FRAGONARD.  THE  EMBRACE,  ENGRAVED  BY 
GABRIEL  MARCHAND 

G.  Marchand,  line-engraver  ;   b.  1755  ?   w.  in  Paris 


XL  JEAN  HONORE  FRAGONARD.    LE  SERMENT  D'AMOUR.    EN- 
GRAVED BY  JEAN  MATHIEU 

Jean  Mathieu,  line-engraver  ;  b.  1749  j  d.  1815  ;  w.  in  Fontaincbleau, 
and  Paris 


XII.  JEAN  MICHEL  MOREAU.     LE  BAL  MASQUE.     ORIGINAL 
ENGRAVING 

J.  M.  Moreau,  draughtsman  and  line-engraver;  b.  1741  ;  d.  1814; 
w.  in  Paris  ;  generally  called  Moreau  le  jeune  in  distinction  from  his 
brother,  the  painter,  Louis  Gabriel  Moreau 


XIII.  JEAN  MICHEL  MOREAU.  LA  PETITE  LOGE.  ENGRAVED 
BY  JEAN  BAPTISTE  PATAS.  FROM  THE  "  MONUMENT 
DU  COSTUME  " 

The  original  drawing  is  in  the  collection  of  the  Baronne  Alice  de 

Rothschild,  Paris.     There  is  another  study  in  the  Olry-Roedcrer 

collection 

J.  B.  Patas,  line-engraver  ;   b.  1748  ?   d.  1817  ?  w.  in  Paris 


pe 

/ 


XIV.  JEAN  MICHEL  MOREAU.  LES  ADIEUX.  ENGRAVED  BY 
ROBERT  DELAUNAY.  FROM  THE  "MONUMENT  DU 
COSTUME  " 

The  original  drawing  is  in  the  collection  of  the  Baronne  Alice  de 

Rothschild 

R.  Delaunay,  line-engraver;    b.  1754;   d.  1814;   w.  in  Paris 


XV.  JEAN  MICHEL  MOREAU.  LA  SORTIE  DE  L'OPERA.  EN- 
GRAVED BY  GEORGES  MALBESTE.  FROM  THE  "  MONU- 
MENT DU  COSTUME  " 

G.  Malbeste,  line-engraver  ;  b.  1754  ;  d.  1843  ;  w.  in  Paris 


a  tJorlic    flr    4 


XVI.  JEAN  MICHEL  MOREAU.    LES  PRECAUTIONS.    ENGRAVED 
BY  PIETRO  ANTONIO  MARTINI.     UNFINISHED  PROOF. 
FROM  THE  "  MONUMENT  DU  COSTUME  " 
The  original  drawing  is   in   the   collection  of   Baron  Edmond  de 
Rothschild,  Paris 

P.  A.  Martini,  line-engraver  ;  b.  1739  ;  d.  1797  ;  w.  in  Parma,  Paris, 
and  London 


XVII.  JEAN  MICHEL  MOREAU.    GUI  OU  NON.    ENGRAVED  BY 
N.  THOMAS.    FROM  THE  "  MONUMENT  DU  COSTUME  " 

The  original  drawing  is  in  the  collection  of  Baron  Edmond  de 
Rothschild.  There  is  another  study  in  the  Olry-Roederer  collection 
N.  Thomas,  lirn-engraver  ;  b.  1750  ?  d.  1812  ?  w.  in  Paris 


///    on    /  c  on 


XVIII.  JEAN  MICHEL  MOREAU.  N'AYEZ  PAS  PEUR,  MA  BOXXE 
AMIE.  ENGRAVED  BY  ISIDORE  STANISLAS  HELMAN. 
FROM  THE  "  MONUMENT  DU  COSTUME  " 

The  original  drawing  is  in  the  collection  of  Lord  Carnarvon 
I.  S.  Helman,  line-engraver;  b.  1743;  d,  1806;  w,  in  Lille,  and 
Paris 


V 


\  pew*  tna'uQfme  (  I  /me 


XIX.  JEAN  MICHEL  MOREAU.  C'EST  UN  FILS,  MONSIEUR. 
ENGRAVED  BY  JEAN  CHARLES  BAQUOY.  FROM  THE 
"  MONUMENT  DU  COSTUME  " 

The  original  drawing  is  in    the   collection   of   Baron   Edmond   de 

Rothschild 

J.  C.  Baquoy,  line-engraver  ;   b.  1721  ;   d.  1777  j  w.  in  Paris 


XX.  JEAN  MICHEL  MOREAU.  LA  PETITE  TOILETTE.  ENGRAVED 
BY  PIETRO  ANTONIO  MARTINI.  FROM  THE  "  MONUMENT 
DU  COSTUME  " 

The  original  drawing   is    in   the   collection  of  Baron  Edmond   de 
Rothschild 


XXI.  JEAN  MICHEL  MOREAU.  LA  GRANDE  TOILETTE.  EN- 
GRAVED BY  ANTOINE  LOUIS  ROMANET.  FROM  THE 
"  MONUMENT  DU  COSTUME  " 

A.  L.  Romanet,  line-engraver  ;   b.  1748;   d.  1806  ?   w.  in  Paris 


) 

d    (/  •(///('('• 


(] 


XXII.  JEAN  MICHEL  MOREAU.  LA  PARTIE  DE  WISCH.  EN- 
GRAVED BY  JEAN  DAMBRUX.  FROM  THE  "  MONUMENT 
DU  COSTUME  " 

The  original  drawing  is  in  the  collection   of   Baron   Edmond   de 

Rothschild 

J.  Dambrun,  line-engraver  ;   b.  1741  ;  w.  in  Paris 


a 


XXIII.  JEAN  MICHEL  MOREAU.  LE  SOUPER  FIN.  ENGRA^D 
BY  ISIDORE  STANISLAS  HELMAN.  FROM  THE  "  MONU- 
MENT DU  COSTUME  " 

The  original  drawing  is  in  the  collection  of  the  Baronne  Alice 
de  Rothschild 


XXIV.  JEAN  MICHEL  MOREAU.  LA  DAME  DU  PALAIS  DE  LA 
REINE.  ENGRAVED  BY  PIETRO  ANTONIO  MARTINI. 
FROM  THE  "  MONUMENT  DU  COSTUME  " 

The  original  drawing  is  in  the  collection   of   Baron  Edmond   de 
Rothschild 


•*%) 

(>u  4<.  n 


•    ,   / 
hi  ft ae  la 


XXV.  JEAN  MICHEL  MOREAU.  LES  PETITS  PARAINS.  ETCHED 
BY  JEAN  CHARLES  BAQUOY,  AND  FINISHED  IN  EN- 
GRAVING BY  JEAN  BAPTISTE  PATAS.  FROM  THE 
"  MONUMENT  DU  COSTUME  " 

The  original  drawing  is  in  the   collection  of   Baron  Edmond  de 
Rothschild 


L)(  ///  » 


//  /  ////;  »    . 


F  4 


XXVI.  JEAN  BAPTISTE  GREUZE.    THE  DEAD  BIRD.    ENGRAVED 
BY  JEAN  JACQUES  FLIPART 

J.   B.  Greuze,  painter,  draughtsman,  and  etcher ;    b.    1725  ;    d. 

1806  ;  w.  in  Paris 

J.  J.  Flipart,  line-engraver  ;  b.  1719  ;   d.  1782  ;  w.  in  Paris 


XXVII.  JEAN  BAPTISTS  GREUZE.  LAVOLUPTUEUSE.  ENGRAVED 
BY  ROBERT  GAILLARD 
R.  Gaillard,  line-engraver;  b.  1722  ;  d.  1785  ;  w.  in  Paris 


•••••n  .? 


XXVIII.  JEAN  BAPTISTE  GREUZE.     LA  CRUCHE  CASSEE.     EN- 
GRAVED BY  JEAN  MASSARD,  1773 
J.  Massard,  line-engraver  ;  b.  1740  ;  d.  1822  ;  w.  in  Paris 


XXIX.  JEAN  BAPTISTE  GREUZE.  LE  TENDRE  DESIR.  ENGRAVED 
BY  JEAN  MASSARD 


XXX.  JEAN  BAPTISTE  GREUZE.      LA  VERTU  CHANCELANTE. 
ENGRAVED  BY  JEAN  MASSARD 


LA    YKKTl     (   ll.VNCF.I 


XXXI.  JEAN  BAPTISTE  GREUZE.    LA  MAMAN.    ENGRAVED  BY 
JACQUES  FIRMIN  BEAUVARLET 

J.  F.  Beauvarlet,  line-engraver;    b.  1731  ?    d.  1797;   w.  in  Abbe- 
ville, and  Paris 


XXXII.  JEAN  BAPTISTE  GREUZE.  GIRL  SEATED,  WITH  A  BASKET. 
ETCHED  BY  FRANgOISE  BEAUVARLET  (DESCHAMPS), 
AND  FINISHED  IN  ENGRAVING  BY  JACQUES  FIRMIN 
BEAUVARLET 

Franchise  Beauvarlet  (nee  Deschamps)  ;  b.  1734?  d.  1769;  first 
wife  of  J.  F.  Beauvarlet.  Besides  engraving,  she  produced  minia- 
ture crayon  portraits 


XXXIII.  JEAN  BAPTISTS  SIMEON  CHARDIN.  LECUREUSE. 
ENGRAVED  BY  CHARLES  NICOLAS  COCHIN,  THE 
ELDER 

J.  B.  S.  Chardin,  painter  ;  b.  1698  ;  d.  1776  ;  w.  in  Paris 

C.  N.  Cochin  I,  line-engraver  ;   b.  1688  ;   d.  1754  ;   w.  in  Paris 


XXXIV.  PIERRE  ANTOINE  BAUDOUIN.  LE  COUCHER  DE  LA 
MARIEE.  ETCHED  BY  JEAN  MICHEL  MOREAU,  AND 
FINISHED  IN  ENGRAVING  BY  JEAN  BAPTISTE  SI- 
MONET 

P.  A.  Baudouin,  painter  and  draughtsman;    b.  1723;    d.  1769; 
w.  in  Paris 
J.  B.  Simonet,  line-engraver;    b.  1742  ;    d.  1813  ;   w.  in  Paris 


iiit'iir 

C  ininniuu'l  ,1  huulellvl. 


XXXV.  PIERRE  ANTOINE  BAUDOUIN.    LE  LEVER.    ENGRAVED 
BY  JEAN  MASSARD 


XXXVI.  PIERRE  ANTOINE  BAUDOUIN.     LE  CARQUOIS  EPUISE. 
ENGRAVED  BY  NICOLAS  DELAUNAY 


I,K  CARQUOIS 

(  ( 
Comma 


XXXVII.  PIERRE  ANTOINE  BAUDOUIN.     L'ENLEVEMENT  NOC- 
TURNE.  ENGRAVED  BY  NICOLAS  PONCE 

N.  Ponce,  line-engraver  ;   b.  1746  ;   d.  1831  ;  vv.  in  Paris 


XXXVIII.  NICOLAS  LAVREINCE.   LE  BILLET  DOUX.  ENGRAVED 
BY  NICOLAS  DELAUNAY 

N.  Lavreince  (Lafrensen),  Swedish  painter  and  draughtsman; 
b.  1737  ;    d.  1807  ;   w.  in  Stockholm,  and  Paris 


pi 

-  * :  ,-A 


XXXIX.  NICOLAS  LAVREINCE.   QU'ONDITL'ABBE  ?  ENGRAVED 
BY  NICOLAS  DELAUNAY 


•«*'-«.'-'  •'• 


XL.  NICOLAS  LAVREINCE.  L'ASSEMBLEE  AU  CONCERT.  EN- 
GRAVED BY  NICOLAS  BARTHELEMI  FRANCOIS  DEQUE- 
VAUVILLER 

N.  B.  F.  Dequevauviller,  line-engraver  ;  b.  1745  ;  d.  1807  ;  w.  in 
Abbeville,  and  Paris.  The  original  drawings  for  this  and  the  following 
plates  are  in  the  collection  of  Mr.  Walter  Burns 


XLI.  NICOLAS  LAVREINCE.      L'ASSEMBLEE  AU  SALON.      EN- 
GRAVED BY  N.  B.  F.  DEQUEVAUVILLER 


F   6 


XLII.  NICOLAS    LAVREINCE.      LA    SOUBRETTE    CONFIDENTS. 
ENGRAVED  BY  GERAUD  VIDAL 

G.  Vidal,  line  and  stipple  engraver,  and  etcher  in  aquatint  ;   b.  1742 
(at  Toulouse)  ;   d.  1804  ;   w.  in  Paris 


.      IIIKlllII-llltl 


)// 
>.(§&_£_:  'ff//e  ti  ,//(<w,(/<- 

MU& 


XLIII.  NICOLAS  LAVREINCE.     LE  DEJEUNER  ANGLAIS.     EN- 
GRAVED BY  GERAUD  VIDAL 


XLIV.  NICOLAS  LAVREINCE.    L'AVEU  DIFFICILE.    AQUATINT 
BY  FRANgOIS  JANINET,  1787 
F.  Janinet,  etcher  in  aquatint ;  b.  1752  ;  d.  1813  ;  w.  in  Paris 


'AVIU?     DIFFICILE. 


XL  V.  CHARLES  EISEN.  LE  CONCERT  MECHANIQUE.  ENGRAVED 
BY  JOSEPH  DE  LONGUEIL,  1769 

C.  Eisen,  painter,  draughtsman,  and  etcher  ;    b.   1720  ;    d.   1778  ; 
w.  in  Valenciennes,  Paris,  and  Brussels 
J.  de  Longueil,  line-engraver  ;   b.  1733  ;   d.  1792  ;  w.  in  Paris 


!.)<•<!  li       ;i 

Munfi 

in     ».„ 


XLVI.  CHARLES  EISEN.  THE  BETROTHAL.  ENGRAVED  BY 
JOSEPH  DE  LONGUEIL.  ILLUSTRATION  TO  C.  J.  DORAT, 
LES  BAISERS,  THE  HAGUE,  1770 

The  original  drawing  is  in  the  collection  of  the  Baronne  James  de 
Rothschild,  Paris 


XLVII.  CHARLES  EISEN.    LE  JOUR.    ENGRAVED  BY  JEAN  BAP- 
TISTE  PATAS 


,,-   Ji'ltr . 
Runi&t    I'Hifn-r.; 


XLVIII.  SIGMUND    FREUDENBERGER.       LA   PROMENADE    DU 
MATIN.    ENGRAVED  BY  CHARLES  LOUIS  LINGEE 

This  and  the  following  plate  are  from  the  Suite  d'Estampes  pour 

servir  a  VHistoire  des  Moeurs  et  du  Costume  des  Fran^ais  dans  le 

XVIIIs  siede  (Paris  1775)   to  which  Moreau's  two  sets  formed 

a  supplement 

S.    Freudenberger,    painter,    draughtsman,    and    line-engraver ; 

b.  1745  ;  d.  1801  ;  w.  in  Berne,  and  Paris 

C.  L.  Lingee,  line-engraver  ;   b.  1751  ;   d.  1819  ;  w.  in  Paris 


"  J-^-J.-t.  .1.  ...  J ,. 


.n.J..»-a..1...n 


ISin-x  !<•  ii,u«  .!'••>  H.M.I.  Km  t, 

.:    -1    ;>;<.|K.«    y.iyn. 


L.  AUGUSTIN  DE  ST.  AUBIN.    PORTRAIT  OF  ADRIENNE  SOPHIE 
MARQUISE  DE  .  .  .    ORIGINAL  ENGRAVING 
A.  de  St.  Aubin,  draughtsman,  and  line-engraver;  b.  1736;   d.  1807; 
w.  in  Paris 


,  r. 

\, 


LI.  AUGUSTIN  DE  ST.  AUBIN.     AU   MOINS  SOYEZ  DISCRET. 
ORIGINAL  ENGRAVING 


LII.  AUGUSTIN  DE  ST.  AUBIN.  COMPTEZ  SURMES  SERMENTS. 
ORIGINAL  ENGRAVING 

This  plate  and  the  preceding  represent  St,  Aubin  and  his  wife 


LIIL  AUGUSTIN  DE  ST.  AUBIN.    LE  CONCERT.   ENGRAVED  BY 
ANTOINE  JEAN  DUCLOS 

A.  J.  Duclos,  line-engraver  ;   b.  1742  ;   d.  1795  >  v;>  ^ 


LIV.  AUGUSTIN  DE  ST.  AUBIN.    LE  BAL  PARE.    ENGRAVED  BY 
ANTOINE  JEAN  DUCLOS 


LV.  HUBERT  FRANCOIS  GRAVELOT.  LE  BON  MARL  ENGRAVED 
BY  NOEL  LE  MIRE.      ILLUSTRATION  TO  MARMONTEL:S 
CONTES  MORAUX,  PARIS,  1765 

H.  F.  Gravelot,  draughtsman,  etcher,  and  engraver;    b.  1699;    d. 
1773  ;  w.  in  Paris,  and  London 

N.  Le  Mire,  line-engraver ;    b.  1724  (at  Rouen) ;    d.  1800  ?    w.  in 
Paris 


LVI.  HUBERT   FRANCOIS   GRAVELOT.      L'ECOLE   DES   PERES 
ENGRAVED  BY  JACQUES  JEAN  PASQUIER.   ILLUSTRATION 
TO  MARMONTEL'S  CONTES  MORAUX,  PARIS,  1765 
J.  J.  Pasquier,  line-engraver  ;   b.  1718  ;   d.  1785  ;  w.  in  Paris 


1Y 


LVII.  ETIENNE  FICQUET.  PORTRAIT  OF  LA  FONTAINE,  AFTER 
RIGAUD 

Frontispiece  to  La  Fontaine,  Contes  et  Nouvelles  en  Vers.     1762 
E.  Ficquet,  line-engraver;   b.  1719;   d.  1794;    w.  in  Paris 


F    8 


LVIII.  CHARLES  JOSEPH  FLIPART.    THE  BOUDOIR.    ORIGINAL 
ENGRAVING 

Painter,   draughtsman,   and  line-engraver;     b.    1721;    d.    1793; 
w.  in  Paris,  Venice,  and  Madrid 


•in.  inf.- 


LIX.  JEAN  BAPTISTE  LE  PRINCE.  LE  MARCHAND  DE  LUNETTES. 
ENGRAVED  BY  ISIDORE  STANISLAS  HELMAN 
J.   B.  Le  Prince,   painter,  draughtsman,   and  etcher  in  aquatint ; 
b.  1734  (at  Metz) ;   d.  1781  ;  w.  in  Paris,  and  Russia 


LX.  JEAN  BAPTISTE  LE  PRINCE.     LE  BERCEAU.     HEDOU,  126. 
ORIGINAL  AQUATINT 


' 


LXI.  PHILIBERT  LOUIS  DEBUCOURT.  LA  PROMENADE  DE  LA 
GALERIE  DU  PALAIS  ROYAL,  1787.  ORIGINAL  AQUATINT 
P.  L.  Debucourt,  etcher  in  aquatint,  crayon  and  mezzotint  engraver  ; 
b.  1755  ;  d.  1832  ;  w.  in  Paris 


LXII.  PHILIBERT  LOUIS  DEBUCOURT.  LA  PROMENADE  PUB- 
LIQUE,  1792.  ORIGINAL  AQUATINT.  FROM  A  FINE 
IMPRESSION  IN  THE  COLLECTION  OF  MR.  BASIL  DIGH- 
TON 


LXIII.  PHILIBERT  LOUIS  DEBUCOURT.  LES  VISITES.  ORIGINAL 
AQUATINT 


LXIV.  JEAN  JACQUES  DE  BOISSIEU.  THE  SCHOOLMASTER,  178.0. 
ORIGINAL  ETCHING 

Painter  and  etcher ;    b.  1736  ;    d.  1810;   w.  in  Lyons 


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